Thursday, 9 February 2017

Storytelling & Commision: From Script to Screen, OGR - 2 (Unfinished)


  1. OGR 09/02/2017

    Hey Al,

    You've worked hard on getting your three components to offer up an engaging story. I look forward to seeing your storyboard refined into something 'client facing' - I think the working on post-it notes is eminently sensible as you figure out your visual storytelling. For me, the big issue I want you to reflect on is 'design for animation'. Looking at your character painting and your environment, I see that you've got a high level of implied realism, which in many ways is a natural byproduct of how you like to paint - lots of soft tone, lots of blending etc. In regards to acquiring more of the nuts and bolts of character design (as opposed to simply drawing digital images of people), I'm going to encourage you think about opportunities for stylisation when it comes to your visual concept for your people and places. This might mean swapping out your preferred ways of working/painting for different tools and different methodology. I've shared this animation with a few of you a) because of the tone and b) because of the startling simplicity of some of the delineations of environment, lighting and character. I'd like you to take a look too:

    I think you could think more 'theatrically' about your approach to this 'single set' story. You could simplify your art style - perhaps think more graphically and with greater expressionism? Take a look at these animation backgrounds for examples of artists really getting into their stride in terms of skewing perspective and making for more neurotic realities:

    Likewise, in terms of character design...


    In terms of your character designs, we're pushing you towards presenting them as pro model sheets, as in:

    ... so an actual understanding of them as 3D assets born from volumetric forms is going to be important, hence why your visualisation of the 'Thief' isn't going to help you very much. I just think, given the tone and 'post-death' skewed reality of your character's experience, there are opportunities here to take some risks in terms of your over-arching visual concept... what do you think?

  2. oh yeah - I think you're missing an all-important word at the end of your script... I presume you mean to write 'I'm *not* coming home tonight...'?

  3. Thank you, I'll get on it ASAP